For Cure3, Cranston hides the cube under his signature material: book covers; cladding it and darkening the space with only a peephole carved out that invites us to look in. At the back of the cube is a beautiful little landscape painting of a House with Green Shutters: void of life, the house and landscape emerge as in a dream or a distant memory.

Cranston says about the painting: “it is in response to the 1901 novel ‘The House with the Green Shutters’ by George Douglas Brown, which explores the alienation and intimate bitterness of characters in a small Scottish town. Central to the story is the motif of the house and its function as a status symbol to the novel’s main character. Somehow it seemed to fit naturally into the theatrical space of the inside of the cube. I read with interest that ‘The House with the Green Shutters’ was the first English language book read by the Argentinian writer Jorge Luis Borges. That the concerns of a community in rural Victorian Ayrshire should resonate with a young boy in Buenos Aires seems remarkable. Borges went blind later in life but recalled in a 1966 interview in The Paris Review that “when I read The House with the Green Shutters I wanted to be Scotch`”. Thinking of blind Borges gave me another reason to darken the space and play with visibility.”